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CARNEGIE HALL PRESENTS

Cancelled: Ensemble Connect

Monday, April 6, 2020 7:30 PM Weill Recital Hall
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Ensemble Connect by Fadi Kheir
Known for its innovative programming, Ensemble Connect presents two views of the octet from Schubert and Jörg Widmann, this season’s holder of the Debs Composer’s Chair. Schubert’s Octet—ingeniously scored for string quartet, bass, clarinet, horn, and bassoon—is a six-movement masterpiece in which the composer’s gorgeous songlike melodies flow seamlessly. Widmann’s music frequently refers to works of past masters, his Oktett casting a contemporary glance at Schubert and the nature of song.

Part of: Ensemble Connect and Jörg Widmann

Performers

Ensemble Connect
·· Noémi Sallai, Clarinet
·· Yen-Chen Wu, Bassoon
·· Wilden Dannenberg, French Horn
·· Gergana Haralampieva, Violin
·· Brian Hong, Violin
·· Jennifer Liu, Violin
·· Suliman Tekalli, Violin
·· Caeli Smith, Viola
·· Meagan Turner, Viola
·· Ari Evan, Cello
·· Arlen Hlusko, Cello
·· Ha Young Jung, Bass

Program

JÖRG WIDMANN Oktett

SCHUBERT Octet in F Major, D. 803

Salon Encores

Get together with people who love music after this Weill Recital Hall concert for a free drink and discussion with the evening's musicians.
Learn More

Jörg Widmann: Richard and Barbara Debs Composer's Chair

Ensemble Connect is a program of Carnegie Hall, The Juilliard School, and the Weill Music Institute in partnership with the New York City Department of Education.

Lead funding has been provided by Marina Kellen French and the Anna-Maria and Stephen Kellen Foundation, Max H. Gluck Foundation, Horace W. Goldsmith Foundation, Irving Harris Foundation, Hearst Foundations, The Kovner Foundation, Phyllis and Charles Rosenthal, The Edmond de Rothschild Foundations, Beatrice Santo Domingo, and Hope and Robert F. Smith.

Global Ambassadors: Hope and Robert F. Smith, and Maggie and Richard Tsai.

Additional support has been provided by the Arnow Family Fund, The Gladys Krieble Delmas Foundation, E.H.A. Foundation, Barbara G. Fleischman, Leslie and Tom Maheras, Rockefeller Brothers Fund, Susan and Elihu Rose Foundation, Sarah Billinghurst Solomon and Howard Solomon, and Trust for Mutual Understanding.

NYC Department of Education and New York State of Opportunity Council on the Arts

Public support is provided by the New York City Department of Education and the New York State Council on the Arts with support of Governor Andrew M. Cuomo and the New York State Legislature.

Ensemble Connect is also supported, in part, by endowment grants from The Kovner Foundation.

Jörg Widmann is the holder of the 2019–2020 Richard and Barbara Debs Composer's Chair at Carnegie Hall.

In honor of the centenary of his birth, Carnegie Hall’s 2019–2020 season is dedicated to the memory of Isaac Stern in recognition of his extraordinary contributions to Carnegie Hall, arts advocacy, and the field of music.

At a Glance

JÖRG WIDMANN  Oktett

German composer Jörg Widmann is an old hand at evoking the past in a contemporary idiom; he once said that “the most important thing in my artistic career has been to combine tradition and innovation.” Oktett is one of many works in which Carnegie Hall’s current composer-in-residence pays homage to his 18th- and 19th-century predecessors through a musical language that is both richly allusive and thoroughly up to date. Widmann’s work is scored for the identical ensemble of winds and strings that Schubert used in his great Octet in F Major, and similarly plays on the contrast between chamber-music delicacy and symphonic robustness.

 

SCHUBERT  Octet in F Major, D. 803

Composed in 1824, the Octet for winds and strings is one of several late chamber works that Schubert intended as preparatory sketches for a projected “grand symphony” on the scale of Beethoven’s Ninth. It was modeled on Beethoven’s youthful—and enormously popular—Septet, with a second violin added to enrich the sonority. While Beethoven considered his Septet little more than a crowd pleaser, Schubert was intent on plowing new ground and “striving after the highest in art.” Fittingly, the Octet had its first public performance in 1827 under the auspices of violinist Ignaz Schuppanzigh, who had also taken part in the premiere of Beethoven’s work in 1800.

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